Likewise, the sound of Vini Reillywas meant to convey the Durutti Column to a wider, more mainstream audience.
If there were ever a time to make his name a selling point, this was it. Yet here was Reilly in 1989, playing on songs that were Top 10 singles and in heavy rotation on MTV. It probably surprised only Wilson that the Durutti Column, with their experimental, uncategorizable, largely instrumental soundscapes, never rose above cult status. Ten years earlier, Tony Wilson had made Reilly the inaugural signing to his fledgling Factory Records label, imagining the mop-topped, enigmatically handsome guitarist as a new kind of pop star. There was a delicious irony in the quiet, painfully unassuming Reilly taking such a consequential role in one of the most anticipated, buzzed-about albums of the decade. Reilly was the featured guitarist and keyboard player (and, depending on whom one talked to, musical director) on Morrissey’s debut solo album, Viva Hate. In 1989, Reilly’s profile had never been higher, and it wasn’t due to his day job. It’s not difficult to understand, though, why the seventh Durutti Column album ultimately was named for the band’s primary member, Vini Reilly. The working title was The Durutti Column Sampler.
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